Queen Margaret’s Version of Shakespeare’s War Of The Roses (Will Geer Theatricum Botanicum 2023 Production) Theatre Review

production photo by Kevin Hudnell

Will Geer Theatricum Botanicum continues its special season, celebrating the theatre’s fiftieth year, with Queen Margaret’s Version of Shakespeare’s War Of The Roses, which is a combination of four of Shakespeare’s history plays – the three parts of King Henry The Sixth and Richard The Third. As its title suggests, this production focuses on the character of Margaret, who was Queen, married to Henry VI. As it depicts the struggle for power between the house of Lancaster and the house of York, this production also highlights the other female characters of these plays, showing the parts the women played in this conflict, and eventually the pain and misery brought upon all of them. This production is directed by Ellen Geer, who also chose the scenes from the four plays to be portrayed. As you might guess, four plays squeezed into a two and a half hour span means a lot of cuts, and also a fairly fast pace, so at least a general familiarity with the plays is helpful to follow some of the action.

The performance does include a bit of narration at the beginning to set the scene and give a bit of information regarding the death of Henry V (since the funeral scene at the beginning of The First Part Of King Henry The Sixth is cut), and explains that the events will be shown from a woman’s point of view. The play then begins with the second scene from The First Part Of King Henry The Sixth, just before the entrance of Joan La Pucelle (Claire Simba). Interestingly, when Charles (Rhett Curry) engages Joan in combat, he has a dagger while she is unarmed. Doesn’t seem quite fair, does it? And that of course is the point. Yet she quickly disarms him, and is then presented with a sword. It is the first, but certainly not the last, display of female strength in the play. And soon she and Charles lead a group into battle, which takes place over the entire stage, even with archers above. The action soon jumps to Act V Scene iii, when York (Max Lawrence) encounters Joan. There is a nice moment where she is disarmed, goes to reach for her sword, then punches York. Later, Joan’s curse is delivered to the audience.

Much of The First Part Of King Henry The Sixth is cut in order to quickly reach the first appearance of Margaret (Melora Marshall), when she is the prisoner of Suffolk (Jon Sprik). The attraction between them is strong, mutual, and is apparent immediately in this production. One thing that is always so interesting, and funny, about this scene is that Margaret hears Suffolk’s asides, and comments on them. Both actors handle this scene incredibly well. Margaret’s father, Reignier (Christopher Wallinger), uses the moment to bargain for Maine and Anjou, and his joy is apparent when those terms are accepted, the lands being much more dear to him than his daughter. It’s actually a really funny moment here. And of course, losing Maine and Anjou ends up causing trouble for Henry VI, deepening rifts and creating resentment and tension. It is in The Second Part Of King Henry The Sixth that we see the reactions to the news of the loss of those territories. First we are treated to the reaction of Henry (Emoria Weidner) to meeting Margaret, a delightful moment, for Henry’s youthful excitement raises spirits of those present, which then are immediately dashed when Gloucester (Franc Ross) reads the terms of the peace. The feeling in the room completely changes, except for Henry, who seems oblivious, a sure sign of his troubles. York is especially angered, and he takes up the paper to read himself downstage center. Max Lawrence was outstanding as Macbeth in this season’s production (which is still running), and likewise turns in an excellent performance as York. Franc Ross is also quite good as Gloucester.

The scene between Gloucester and Eleanor (Willow Geer) is performed on the upper level, stage right. This company always makes such great use of the space, but more on that in a bit. Eleanor is loving and kind of playful, and even seats herself on Gloucester’s lap on “my sweet duke.” After Gloucester exits and she says “Follow I must,” her demeanor suddenly changes. She is no longer playful. That is, she is no longer playing. Willow Geer, who was tremendous as Lady Macbeth, is excellent here. Later, when Eleanor is charged with crimes, there is a nice moment where she and Gloucester reach for each other, but are unable to make contact. When we next see Margaret and Suffolk alone together, she puts herself in his arms, making it quite clear that their relationship has continued and progressed. When Henry VI and the other enter, Gloucester at one point says, “These are no women’s matters.” In this particular telling of the story, that line rings even more untrue than usual. It in fact feels like a key line of the play, for not only do all the matters discussed by the men directly impact the women, but Margaret proves herself at least as capable as the men at intrigue and plotting. And of course we have already seen the strength of Joan at work. It is also clear that Margaret has much more inner strength than Henry. At the end of that scene, when Henry beckons to Somerset (Tim Halligan), saying he’ll seem him to France, he glances worriedly at York, who has again taken that seat down center, a really nice moment showing that even when Henry is issuing commands, he is not sure of himself.

I mentioned earlier how this company makes great use of its wonderful space. One moment in particular that stands out is at the beginning of Act II of The Second Part Of King Henry The Sixth, when Henry VI and the others are discussing falcons. They enter from the woods off to the right of the audience, and it is there that Henry seems very much in his element, feeling more relaxed and at peace. That scene works naturally well in this space. And it makes the trouble seem even worse for him by contrast, just moments later when it is clear that things are out of his control. And the scene where Eleanor is paraded by in shame, the rabble that she speaks of are within and behind the audience, effectively making the audience a part of them, a nice touch.

At the beginning of Act III of The Second Part Of King Henry The Sixth, though Henry VI is seated upon the throne, it is Margaret who holds the attention of all who have assembled. She is the one who is given the long speech by Shakespeare, she is the one who commands the floor. However, Henry VI does show some passion, some strength when he speaks of Gloucester’s goodness. Franc Ross is excellent as Gloucester here, and Max Lawrence is great as York when he suggests sending Somerset as regent. When York is left alone at the end of the scene, he sits upon the throne. Margaret knows just how to play Henry VI after news reaches him of Gloucester’s death. Margaret is obviously the focus of this production, and Melora Marshall is excellent as Margaret throughout the performance, covering several decades of the woman’s life, certainly not an easy task. But there are some moments when she is just absolutely fantastic, as when she worries about Suffolk, almost nervously laughing off the idea that he could be responsible for Gloucester’s murder. I love her delivery of “Where’s your knife?” And both she and Suffolk are particularly good during their final moments alone. It is interesting that after Suffolk’s death, Margaret’s power and strength manifest in different ways, and Melora Marshall does a great job of showing that, as when she is furious at learning that her husband has agreed to let York and his heirs inherit the crown. She is warlike over Henry VI’s bent form, which provides a hint of what she is capable of. She soon proves those capabilities when she stabs York. And in Act V of The Third Part Of King Henry The Sixth, we see people gathered around her, kneeling, as she steps onto a bench and tells them, “Why, courage, then!” And we see that she is a true leader. And, after her son is killed, we see another side of her. Melora Marshall is incredible in this scene, as she tries to get Clarence to kill her too.

Both Jon Sprik and Claire Simba give excellent performances as Richard III and Lady Anne respectively in the wooing scene in Act I of Richard The Third, which is a difficult scene. Claire Simba delivers the line “I would I knew thy heart” quieter than her previous lines, a wonderful way to show her resolve is weakening, that she would acknowledge that this man even has a heart. Another interesting choice is that the gift of the ring seems to go a long way to persuade her. She seems rather enamored of the object once it is upon her finger. I love that Margaret, now older, enters from the woods, because there is something wild about her at this point, something untamed. She now has a different sort of power. Melora Marshall is compelling in this scene, as she tells Richard he owes her a husband and a son. And when she exits, it is back into the woods. But perhaps the most powerful scene of all is when Margaret returns and speaks with Elizabeth Grey (Willow Geer) and the Duchess of York (Cynthia Kania), sort of welcoming Elizabeth into the dark land of sorrow that she knows well, understanding that Elizabeth feels the pain and anguish that have been Margaret’s companions for quite some time. Willow Geer is then excellent when facing Richard as he attempts to take her daughter from her. Interestingly, Elizabeth’s daughter is present in this scene (though without lines). Jon Sprik does such a phenomenal job as Richard, even though most of his great speeches are cut (including those famous opening lines). Of course, without those soliloquies, the audience receives a much different sense of Richard, for in those speeches Richard in a way is wooing the audience. None of that is allowed to occur in this production. And because the play focuses on the female characters, also gone are Talbot and the entire Jack Cade plot. Perhaps the oddest cut of all is losing the scene where the red and white roses are chosen, where essentially everyone picks sides. Though this occurs before Margaret’s first entrance in The First Part Of King Henry The Sixth, it is an important scene. And its loss seems strange particularly as the line about uniting the roses is included at the end of the production.

This production of Queen Margaret’s Version of Shakespeare’s War Of The Roses runs through October 1, 2023 in repertory with Macbeth, A Midsummer Night’s Dream and Terrence McNally’s A Perfect Ganesh. Visit the theatre’s website for the complete schedule. There is one intermission, which comes during Act I Scene iv of The Third Part Of King Henry The Sixth. Will Geer Theatricum Botanicum is located at 1419 N. Topanga Canyon Blvd. in Topanga, California.